Thunder SmithSanta-Fe Blues Texas Blues (Bill Quinn's Gold Star Recordings)
Thunder SmithLow Down Dirty Ways Lightnin' Special Vol. 2
Thunder SmithCan't Do Like You Used To Lightnin' Special Vol. 2
L.C. WilliamsStrike BluesTexas Blues (Bill Quinn's Gold Star Recordings)
L.C. WilliamsYou'll Never Miss the WaterTexas Blues (Bill Quinn's Gold Star Recordings)
L.C. WilliamsFannie MaeLightnin' Special Vol. 2
Manny NicholsWalking Talking BluesDown Home Blues Classics: Texas
Manny NicholsNo One to Love MeDown Home Blues Classics: Texas
Manny NicholsForgive Me Down Home Blues Classics: Texas
Ernest Lewis In My Girlish DaysDown Home Blues Classics: Texas
Ernest Lewis West Coast Blues Down Home Blues Classics: Texas
Ernest Lewis No More Lovin' Down Home Blues Classics: Texas
Little Son WillisSkin And BoneLightnin' Special Vol. 2
Little Son WillisNothing But The Blues Lightnin' Special Vol. 2
Little Son WillisBad Luck And Trouble Lightnin' Special Vol. 2
Thunder Smith Big Stars Are Falling Texas Blues (Bill Quinn's Gold Star Recordings)
Thunder SmithCruel Hearted Woman Lightnin' Special Vol. 2
Thunder SmithLittle Mama Boogie Lightnin' Special Vol. 2
L.C. WilliamsThe Lazy JLightnin' Special Vol. 2
L.C. WilliamsHole in the WallTexas Blues (Bill Quinn's Gold Star Recordings)
L.C. WilliamsBoogie All the Time Texas Blues (Bill Quinn's Gold Star Recordings)
Luther StonehamJanuary 11, 1949 BluesDown Home Blues Classics: Texas
Luther StonehamSittin' Here Wonderin' Down Home Blues Classics: Texas
James TisdomWinehead swingHollywood Blues
James TisdomThrow This Dog A Bone Down Home Blues Classics: Texas
J.D. EdwardsPlayboy BluesLightnin' Special Vol. 2
J.D. EdwardsHobo Lightnin' Special Vol. 2
Perry Cain All The Way From TexasTexas Blues (Bill Quinn's Gold Star Recordings)
Andy ThomasAngel ChildDown Home Blues Classics: Texas
Andy ThomasI Love My BabyTexas Country Blues 1948-1951
Sunny JamesPlease Mam Forgive Me Texas Country Blues 1948-1951
Sunny JamesExcuse Me Baby Texas Country Blues 1948-1951
Thunder SmithL.A. BluesCalifornia Blues 1940-1948
L.C. Williams Don't Like To Travel The Mercury Blues & Rhythm Story

Show Notes:

Big Stars Are FallingToday's show s a belated sequel to a series of shows we aired several years back spotlighting some fine West Coast artists that I wanted to feature in more depth. All of today's artists are from Texas, cutting sides for the myriad labels that popped up in Texas and California in the immediate port-war era. All of today's sides were recorded between 1946 and 1953 for small  labels that loom large in blues history such as Gold Star, Freedom, Elko, Swingtime  and Sittin' In With as well as bigger outfits like Aladdin, Imperial and Mercury. The shadow of Lightnin' Hokpkins looms large over these artists, both in style and association, although none garnered the success that Lightnin' would. Hopkins' makes appearances  on sides by Thunder Smith and L.C. Williams. In addition to recording on some of the same labels, some of today's artists intermingled musically such as guitarist Luther Stoneham who can be heard on records by Thunder Smith, Andy Thomas and Sunny James, Thunder Smith who also backed the latter two artists and Ernest Lewis who worked with Little Son Willis. Other artists featured today include Manny Nichols, Ernest Lewis, Little Son Willis, James Tisdom, J.D. Edwards and Perry Cain.

Married to a dentist, Lola Ann Cullum was instrumental in giving Lightning Hopkins his first opportunity as a recording artist for Aladdin Records. Born in Waimer, Texas,she was always interested in blues and knew a good thing when she saw it, in Lightning's case working on Dowling Street with singer Texas Alexander. The plan was to take the pair to Los Angeles, along with pianist Wilson' Thunder' Smith, to record for Aladdin. In the event, Mrs Cullum became wary of Texas Alexander and just took the other two west to California. There, it was she who christened Smith 'Thunder' for the loudness of his playing and Hopkins 'Lightning' for his proficiency as a guitarist her mind, Smith would be the star but turned out otherwise.

Thunder Smith plays piano behind Hopkins on his first two sessions for Aladdin in 1946 and 1947, never achieving the success that Hopkins did. Hopkins backed Smith on a four song session for Aladdin in 1946 with Smith cutting one session apiece in 1947 for Gold Star and in 1948 for Down Town. He reportedly died in Houston in 1965.

Luther Stoneham was born in Phelps, TX. on September 28, 1913. Relocating to Houston later he backed pianist Wilson "Thunder" Smith in 1947 for Gold Star Records. The next year he backed Andrew "Andy" Thomas & Sunny James on recordings and returned again as a sideman to Thunder Smith on discs for Down Town where he assumed the pseudonym of "Rockie". 1949 saw his last tracks as a sideman, playing on twJanuary 11, 1949 Blueso sides with Thomas on the tiny Swing With The Stars label, where he was billed as Luther Stoner. In 1951, he waxed three sides for Mercury under his own name, with one being unissued. Stoneham passed away in Houston on February 25, 1973.

L.C. Williams was a singer/tap dancer who also occasionally drummed behind Hopkins. He arrived in Houston in 1945 and was one of the many characters who hung around in Lightning’s orbit sitting on stoops drinking beer and wine, shooting the breeze with passers-by. He made his first record in 1947 for with Hopkins on piano and guitar. Hopkins plays guitar on a four-song session for Gold Star in 1948 with Williams making some final sides for Eddie’s and Freedom between 1948-1950. He died in Houston of TB in 1960.

Sometime in 1949, Manny Nichols cut just one session at Houston's ACA studios, initially for the tiny FBC label, located in Rosenberg, Texas, some fifty miles south-west of Houston. In the event,only "Walking Talking Blues" and "Tall Skinny Mama Blues" were released, although an acetate of "Walkin' Blues" and "Forgive Me Baby" also survived. The other four titles were sold to Imperial, who subsequently released them as two singles. Nichols was located in the 1970s, living on a farm in Victoria, Texas; a photograph appeared on an Arhoolie album cover but if he was interviewed at the time, nothing has appeared in print.

Ernest Lewis cut nine sides between 1949-1953 for several small labels, first in Texas and then in California. He also may have recorded as West Texas Slim. He backed Little Son Willis on two of his recordings.

Malcolm Willis was a blues singer and pianist from Fort Worth, TX. At sometime in his youth he made the trek to California to join the West Coast blues scene. He cut his first disc for J.R. Fullbright's Elko label in Los Angeles, CA. in 1951. In 1952 and 1953 he recorded eight more numbers for the Swingtime label billed as Little Son Willis. Willis owns a strong debt to the popular Doctor Clayton.

James Tisdom was born in Texas c. 1912. He seemed to live most of his life moving around from Corpus Christi to the Rio Grande valley. Tisdom never saw the inside of a Dallas or Houston recording studio, but he did travel to California to record three 78's. In 1950 he cut another single in San Benito, TX. for Original. The recordings were believed to be forever lost until a copy turned up four decades later. Tisdom also made recordings for Ideal in South Texas in 1951, but they were shelved since the label specialized in Hispanic music. The acetates were found in the 1990's by Arhoolie Records. Tisdom was known to have been residing and farming in Goliad, TX. in 1967.

GI Feel So Gooduitarist and singer Perry Cain was born in Waverly, TX in 1925 and was very active in the Houston blues scene during the late 1940's and 1950's, recording a number of singles in which pianist Buster Pickens shines throughout. During the 1960's, Perry was a noted DJ at KCOH's Houston. He died 24 April 1975 at his Houston's home.

Andrew Thomas may or not have been from Houston. He recorded two 78's for Bill Quinn's Gold Star label billed as Andy Thomas in 1948 and 1949. Later in '49 Quinn recorded two more songs by him, but instead of issuing them on his label, he leased the sides to a record label in Paris, Texas. Thomas was never heard from again.

Little is known about Sunny James, who was around 18 years old at the time of his first recordings in 1948. He had one follow up 78 for Sittin' In With in 1951, recording as Jesse James. He is believed to have died sometime in the early to mid 1950's. He is not to be confused with Jesse James who recorded for Decca in the 1930's.


Mozelle Alderson w/ Judson BrownTight WhoopieThe Piano Blues Vol. 5
Madelyn James w/ Judson BrownLong Time BluesMemphis Blues 1927-1938
Blind Roosevelt Graves & Brother w/ Will EzellCrazy About My BabyBlind Roosevelt Graves 1929-1936
Blind Roosevelt Graves & Brother w/ Will EzellBustin' The JugBlind Roosevelt Graves 1929-1936
Georgia Tom w/ Bob Call Billie The GrinderGeorgia Tom Vol.1 1928-1930
James ''Boodle It'' Wiggins w/ Bob CallEvil Woman BluesJuke Joint Saturday Night
James ''Boodle It'' Wiggins w/ Bob CallKeep A Knockin' An You Can't Get InThe Frog Blues & Jazz Annual No. 1
Mary Johnson w/ Judson Brown Three Months Ago BluesMary Johnson 1929-1936
Mary Johnson w/ Judson Brown Morning Sun BluesMary Johnson 1929-1936
Margaret Thornton w/ Blind James BeckTexas Bound Blues Barrelhouse Mamas
Margaret Thornton w/ Blind James BeckJockey Blues Barrelhouse Mamas
Mozelle Alderson w/ Blind James BeckState Street SpecialPiano Blues Vol. 9
Lil Johnson w/ Freddie ShayneHottest Gal In Town Lil Johnson Vol. 2 1936-1937
Freddie ''Redd'' Nicholson w/ Freddie ShayneTee Rolller's RubBoogie Woogie & Barrelhouse Piano Vol. 1 1928-1932
Priscilla Stewart w/ Freddie ShayneSwitch It Miss Mitchell Priscilla Stewart 1924-1928
Priscilla Stewart w/ Clarence Johnson Walking And Talking Blues Priscilla Stewart 1924-1928
Edna Hicks w/ Clarence JohnsonWalking And Talking Blues Edna Hicks Vol. 1 1923
Monette Moore w/ Clarence Johnson Sugar BluesMonette Moore Vol. 1 1923-1924
John Oscar w/ poss. Eddie MillerWhoopee Mama BluesChicago Piano 1929-1936
John Oscar w/ poss. Eddie MillerMama Don't Allow No Easy Riders HereChicago Piano 1929-1936
Billie McKenzie w/ Eddie Miller I'd Rather Drink Muddy Water Female Chicago Blues 1936-1947
Mary Johnson w/ Henry Brown Peepin' At The Risin' SunMary Johnson 1929-1936
Mary Johnson w/ Henry Brown Black Man BluesMary Johnson 1929-1936
Mary Johnson w/ Henry Brown Deceitful Woman BluesMary Johnson 1929-1936
Jenny Pope w/ Judson Brown Bull Frog BluesMemphis Blues Vol. 4 1929-1953
Charlie "Bozo" Nickerson w/ Judson Brown What's the Matter Now?, Pt. 3 Piano Discoveries: Newly Found Titles & Alternate Takes
Elzadie Robinson w/ Will Ezell 2.16 Blues Elzadie Robinson Vol. 1 1926-1928
Lucille Bogan w/ Will Ezell Nice and Kind Blues Lucille Bogan Vol. 1 1923-1929
Robert Peeples w/ Henry Brown Fat Greasy BabyTwenty First. St. Stomp
Peetie Wheatstraw & His Blue Blowers w/ Henry BrownThrow Me In The AlleyFolks, He Sure Do Pull Some Bow!
Charlie McFadden w/ Eddie MilleHarvest Moon BluesTwenty First. St. Stomp
Charlie McFadden w/ Eddie MilleWeak-Eyed Blues Down On The Levee

Show Notes:

Throw Me In The AlleyToday's show is part four in a series of shows spotlighting well known and obscure superb session musicians who backed blues artists in the pre-war era. Today we feature some terrific pianists, the best known being Henry Brown a fine St. Louis pianist who recorded in the pre-war and post-war eras. The rest are less well known: there's Will Ezell who recorded and acted as a talent scout for Paramount records, the others more obscure including Bob Call, Judson Brown, Clarence Johnson, Blind James Beck and Freddie Shayne.

In A Left Hand Like God: A Study of Boogie-Woogie Peter Silvester wrote: "Henry Brown was a living model for the qualities most apparent in the St. Louis boogie-woogie style. He employed an economic left hand of single notes or sparse chords for slow numbers and a rumbustious walking bass for faster ones." Brown learned to play the piano from the "professors" of the notorious Deep Morgan section of St. Louis. One of them went by the name of "Blackmouth," another was named Joe (or Tom) Cross. As Brown remembered him, "he was a real old time blues player and he'd stomp ‘em down to the bricks." "Deep Morgan Blues" was one of his signature pieces. By the age of sixteen Brown had acquired enough technique to be able to play the buffet flats in the 1920's and was soon in regular demand there. He was able to make enough money to survive, allowing him the sleep during the day and play all night. Brown worked clubs such as the Blue Flame Club, the 9-0-5 Club, Jim's Place and Katy Red's, from the twenties into the 30's

Brown recorded for Brunswick with Ike Rogers and Mary Johnson in 1929, for Paramount in ‘29 and ‘30, behind singer Alice Moore in 1929 and 1934 as well as backing others such singers as Jimmy Oden, Bessie Mae Smith and others. Brown served in the army in the early 40's, then formed his own quartet to work occasional local gigs in St. Louis area from the 50's, and worked the Becky Thatcher riverboat in 1965. In addition to his pre-war recordings, he was recorded by Paul Oliver in 1960 (Henry Browm Blues, 77 Records and reissued on CD by Southland), by Sam Charters with Edith Johnson in 1961 (The Blues in St. Louis Vol. 2: Henry Brown and Edith Johnson), cut some sides for the Euphonic label in the 50's (some appear on the Delmark reissue Biddle Street Barrelhousin') and some final sides for Adelphi in 1969.

Born in Texas, pianist Will Ezell played in the jukes around Shreveport before moving to Detroit and Chicago. He was a frequent accompanist for Paramount Records and even took Paramount’s star, Blind Lemon Jefferson's body back to Texas for burial. Ezell cut sixteen sides for the label between 1927 and 1929 and backed artists such as Lucille Bogan, Elzadie Robinson, Bertha Henderson and others. In 1929 he backed Blind Roosevelt Graves and his brother on several songs and they returned the favor playing on some of his sides.

Keep A-Knockin' an You Can't Get InBob Call cut one song "31 Blues" recorded in 1929, the flip of the 78 was by Speckled Red. Call also backed Georgia Tom, Elzadie Robisnon and James "Boodle It" Wiggins. Virtually nothing is known about Wiggins who cut eight sides at three sessions for the Paramount label between 1928 and 1929. Paramount placed two ads in the Chicago Defender on November 30, 1928. There were also two sessions on Nov. 13 and 14th 1928 that resulted in six unissued sides. Writer Mike Rowe wrote: "Call raises other questions; can the pianist of '31 Blues' be the same Bob Call after a gap of eighteen years crops up as a band pianist on records by Arbee Stidham, Big Bill, Jazz Gillum, Robert Nighthawk and who under his own name made a couple of jump blues? It would seem so. Call was known to have gone to school to learn to read music, presumably to expand his musical potential, and moreover the age seems right; his photograph from 1958 shows a man well into his fifties. Bob Call was shrewd enough to realize a change in style was necessary – those that wouldn't change retired or disappeared, and left as few traces as when they arrived.

Freddie Shayne is a shadowy figure who spent his life working in Chicago. He first time on record was backing singer Priscilla Stewart on “Mr. Freddie Blues.” Shayne also made a very rare piano roll of this song. In 1935 Shayne recorded a solo record, “Original Mr. Freddie Blues b/w Lonesome Man Blues.” “Mr. Freddie Blues” became something of a boogie standard covered by many artists including Meade Lux Lewis, Pete Johnson, Jimmy Blythe, Art Tatum and others. In the 40's he made some recordings for the Circle label where he also backed singer Bertha “Chippie” Hill.

Clarence "Jelly" Johnson became an in-demand piano roll performer, cutting many performances in Chicago during the mid to late 1920's fory the Capitol Music Roll Company and issued as nickelodeon piano rolls. Johnson never cut any 78's under his own name but did back several singers including Edna Hicks, Sara Martin, Lizzie Miles, Monette Moore and others. Recently Delmark records release Low Down Papa, a collection of twenty of Johnson's piano rolls.

Johns Oscar cut a handful of sides for Decca and Brunswick between 1929 and 1931. He was and associate of singer Sam Theard and may have been the pianist for Oscar's Chicago Swingers and the Banks Chesterfield Orchestra. There is uncertainty if Eddie Miller or Cow Davenport plays on "Mama Don't Allow." Eddie Miller may play on some other sides by Oscar. Miller cut eights sides under his own name at sessions in 1929, an unissued 78 in 1936 and final sides in 1936. Miller backed Merline Johnson, Charles Pertum, Lizzie Washington, Ma Rainey and others.

Judson Brown made one solo recording, sharing the B-side of his only 78 with Freddie "Redd" Nicholson. He also backed several singers including Mozelle Anderson, Madelyn James, Charlie "Bozo" Nickerson, Jeny Pope and Mary Johnson.

Margaret Thornton cut one great 78 for Black Patti backed by great pianist Blind James Beck, "Texas Bound Blues b/w Jockey Blues." Nothing is known of Beck who also backed singer Mozelle Alderson.

It's worth singling out a few of today's singers inlcuding Mary Johnson, Priscilla Stewart and Charlie McFadden. Mary Johnson of St. Louis (sometimes billed as "Signifying Mary") made her debut in 1929, cutting just shy of two dozen songs. She achieved modest success and never recorded again after 1936 despite living until 1983. She recorded 8 selections in 1929, 6 sides in 1930, two in 1932, four in 1934, and two final numbers in 1936. All of the 1929 sides feature the fine piano of Henry Brown and trombonist Ike Rogers on five of the eight sides.

Unlike many of her contemporaries, Priscilla Stewart doesn’t seem to have come from a stage background since no mention can be found of her appearing in stage revues of the time.  As Alan Balfour wrote in the notes to Document's collected CD of her recordings: "Stewart’s recording career was brief and unspectacular and although she may not have been in the same league as many of her famous contemporaries, somebody at Paramount thought it worth the company’s time and investment to record her. That being the case she certainly deserves the belated recognition that this release will hopefully bring."

Charlie McFadden was a singer based out of St. Louis. Henry Townsend knew him and said that he could play piano a little bit, but preferred that someone else played it on his recordings. Roosevelt Sykes was the usual pianist, even though Eddie Miller and Aaron "Pinetop" Sparks made a couple of appearances, each. He cut two-dozen sides between 1929 and 1937.



I's been a wild ride but the elections are finally over. I'll be off the air this week but in lieu of a new show, here's a relevant one that first aired Nov. 23, 3008 when Obama was first elected. The show also aired 45 year after Kennedy's assassination and there are several blues and gospel songs addressing his passing. You can find the the original playlist and show notes here.


Blind Willie McTell Savannah MamaPostwar Recordings 1949-50
Blind Willie McTell & Curley Weaver Don't Forget ItPostwar Recordings 1949-50
Curley WeaverTicket AgentPostwar Recordings 1949-50
John Lee ZieglerWho's Gonna Be Your ManThe George Mitchell Collection Vols. 1-45
Bud Grant Blues Around My BedGeorgia Blues
Cliff Scott Long Wavy Hair Georgia Blues
Billy Wright Stacked DeckBilly wright 1949-1951
Zilla Mays Nightshift BluesJumpin' The Blues Vol. 3
Danny Boy And His Blue Guitar Kokomo Me Baby45
George Henry Bussey When I'm Sober, When I'm Drunk BluesJim Bunkley & George Henry Bussey
Jim Bunkley Segregation BluesJim Bunkley & George Henry Bussey
Pinetop Slim Applejack Boogie Modern Downhome Blues Sessions Vol. 4
Robert Lee Westmoreland Good Looking Woman BluesPlay My Juke Box
Tommy Lee Russell Dupree BluesBlues Come To Chapel Hill
Roy Dunn She Cook Cornbread For Her Husband Know'd Them All
Cecil Barfield I Told You Not To Do ThatThe George Mitchell Collection Vols. 1-45
Green Paschal Trouble Brought Me DownGeorgia Blues
Bud WhiteGo Ahead OnThe George Mitchell Collection Vols. 1-45
Neal Patman Shortnin' BreadThe Art of Field Recording Vol. 2
Eddie Lee Jones And Family Yonder Go That Old Black DogYonder Go That Old Black Dog
Buddy Durham Blues All Around My HeadGoin' Back To Tifton
David Wylie You're Gonna Weep And Moan Down Home Blues Classics Vol. 6
Frank Edwards Gotta Get Together Sugar Mama
Precious Bryant You Don`t Want Me No MoreThe Roots Of It All: Acoustic Blues Vol .4
Jessie Clarence Gorman Goin' Up To The Country #1 The George Mitchell Collection Vols. 1-45
James Davis Old Country Rock #1The George Mitchell Collection Vols. 1-45
Buddy Moss AmyThe George Mitchell Collection Vols. 1-45
Willie Guy Rainey John HenryWillie Guy Rainey
Junior Tamplin Under The Viaduct (In Atlanta, GA) Let Me Tell You About The Blues: Atlanta
Piano Red Rockin' With Red The Real Dr. Feelgood
Tommy Brown Atlanta BoogieRockin' On Acorn-Regent Vol. 1
Bruce Upshaw & Willie Rockomo Tease Me Baby #2The George Mitchell Collection Vols. 1-45
Jimmy Lee Williams Have You Ever Seen PeachesHoot Your Belly
Cora Mae BryantMcTell, Moss & Weaver Born With The Blues

Show Notes:

Read Liner Notes

As a regional music center, Atlanta was as vital to the early years of recorded blues as was Memphis. Initially, it was just one location regular|y visited by mobile recording units but as the years passed it became increasingly important. Like Memphis, Atlanta was a staging post for musicians on their way to the north but it also supported a thriving musical community of its own. It's also where in 1924, OKeh technicians recorded one of the first country blues, "Time Ain't Gonna Make Me Stay"' by Ed Andrews. In 1926 Peg Leg Howell was recorded by Columbia, the following year Victor recorded Barbecue Bob and Blind Willie McTell and in 1928 Curley Weaver was recorded by Columbia. WWII put an end to recording in Atlanta for some time and it wasn't until the end of the decade that a number of country blues artists, including Blind Willie McTell, Curley Weaver, Pinetop Slim, Frank Edwards, David Wylie and Robert Lee Westmoreland, kept their tradition alive. But in the meantime, more modern blues and R&B was rising including singers Billy Wright and his pal Little Richard, as well as Tommy Brown and Piano Red among others. In the 1960's and 70's their was notable field recordings made by George Mitchell who found and recorded several fine blues artists like John Lee Ziegler, Jimmy Lee Williams and Cecil Barfield while Pete Lowry recorded Roy Dunn, Frank Edwards and others.

In the immediate post-war years there were some fine down-home Georgia blues artists recorded, most notably two of Atlanta's finest, Blind Willie McTell and Curley Weaver. McTell was born in Thomson, Georgia, near Augusta, and raised near Statesboro. He was A major figure with a local following in Atlanta from the 1920's onward, he recorded dozens of sides throughout the 1930's under a multitude of names — all the better to juggle "exclusive" relationships with many different record labels at once — including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. Willie's recording career began in late 1927 with two sessions for Victor records, eight sides including the immortal  "Statesboro Blues."

Curley Weaver was born in Covington, Georgia,and raised on a farm near Porterdale. His mother, Savannah "Dip" Shepard Weaver, was a well-respected pianist and guitarist, who taught Curley and her friend's sons, "Barbecue Bob" and Charlie Hicks, He first recorded in 1928, for Columbia Records, and subsequently released records on several different labels.  Weaver recorded a session  for for Sittin' in With in late 1949 or early 1950 and Weaver and McTell recorded a session for  Regal in 1950. As David Evans wrote: "Weaver's Sittin' in With tracks appear to represent the core of his repertoire and show him deeply embedded in the Georgia blues tradition, with a particular debt to McTell. …Contrary to some published reports, McTell and Weaver both play guitars on all of the Regal recordings except two takes of a slow gospel song." Weaver never record again but McTell also recorded for Atlantic in 1949 and made some final sides in 1956.Curley Weaver - Ticket Agent

Other Georgia artists who record shortly into the post-war were Pinetop Slim, Frank Edwards, David Wylie and Robert Lee Westmoreland. Pinetop Slim was discovered in 1949 by Joe Bihari. He was playing and singing on a street corner in Atlanta. Georgia and Joe took him to a radio station to record.

David Wylie was born in Washington, GA. on July 1, 1926 Nothing else is known about him except the fact that he recorded for titles for Regal Records in Atlanta in the spring of 1950. Two were issued on a 78 at the time, the remaining two didn't see the light of day until 19 years later when they appeared on the Biograph LP Sugar Mama.

Frank Edwards was born in Washington, Georgia. He recorded for three record labels in his career; Okeh Records in 1941, Regal Records in 1949, and  a full-length album for Trix Records in the mid-1970's. Some more recent sessions were done for the Music Maker Relief Foundation.

Robert Lee Westmoreland left behind just two songs, "Hello Central Give Me 209" and "Good Looking Woman Blues." These sides were recorded for the Trepur label in La Grange, Georgia in 1953.

In the 1940's and 50's several Georgia singers made a name for themselves on the R&B market including Billy Wright, Little Richard, Tommy Brown, Piano Red and others. While Atlanta didn't boast any recordings studios, sessions were done in the city in makeshift studios, particularly at radio station WGST. A prime influence on Little Richard during his formative years, "Prince of the Blues" Billy Wright's shouting delivery was an Atlanta staple during the postwar years. Saxist Paul "Hucklebuck" Williams caught Wright's act when they shared a bill , recommending the teenaged singer to Savoy Records boss Herman Lubinsky. Wright's 1949 Savoy debut, "Blues for My Baby," shot up to number three on Billboard's R&B charts, and its flip, "You Satisfy," did almost as well. Two more of Wright's Savoy 78s, "Stacked Deck" and "Hey Little Girl," were also Top Ten R&B entries in 1951. Wright set his pal Little Richard up with powerful WGST DJ Zenas Sears, who scored him his first contract with RCA in 1951.

William Lee Perryman was born on a farm near Hampton, Georgia in 1911. y the early 1930s, Perryman was playing at house parties, juke joints, and barrelhouses in Georgia, Alabama, and Tennessee. In 1950, after spending the previous 14 years upholstering and playing music on weekends, Perryman recorded "Rockin' with Red" and "Red's Boogie" at the WGST radio studios in Atlanta for RCA Victor. Both songs became national hits, reaching numbers five and three respectively on the Billboard R&B charts. During the mid-1950s Perryman also worked as a disc jockey on radio stations WGST and WAOK in Atlanta, broadcasting 'The Piano Red Show' (later 'The Dr. Feelgood Show') directly from a small Goog Looking Woman Bluesshack in his back yard. Signed to Okeh Records in 1961, Perryman began using the name Dr. Feelgood and the Interns, releasing several hits, including the much-covered "Doctor Feelgood."

Born in Lumpkin, Georgia, Tommy Brown formed a small band with himself as the drummer in the 1940s, and worked in clubs around Atlanta. In 1949 he recorded "Atlanta Boogie" on the Regent label. In 1951 he moved on to Dot where he was teamed with the Griffin Brothers and  in August of that same year Brown was featured singer on the R&B Top 10 hit "Tra-La-La", credited to the Griffin Brothers Orchestra, and later in the year the combination reached #1 on the R&B chart with "Weepin' and Cryin.'" He recorded for United in 1952 and played for a while in Bill Doggett's band. Brown made a comeback in 2001, recording and performing around the world in blues festivals.

From the early 1960's to the early 1980's George Mitchell roamed all over the south recording blues in small rural communities where the music still thrived. Mitchell did record some of the famous artists of the past like Buddy Moss, Furry Lewis, Will Shade, Sleepy Johns Estes and was the first to record artists who would achieve later fame such as R.L. Burnside, Jesse Mae Hemphill, Othar Turner and Precious Bryant. What Mitchell recorded in the rural communities of Georgia, Tennessee, Alabama and Mississippi in the 1960’s was a still thriving, if largely undocumented, blues culture. Several of today's artists were  featured on the 1981 Flyright album, Georgia Blues Today. Mitchell's wrote that "the bluesmen on this album are the best I located while conducting field research for the Georgia Grassroots Music Festival from 1976 through 1979." Mitchell was one of the few who documented the Lower Chattahoochee River Valley region which has one of the richest traditions of blues music in America. The region is defined as the eighteen counties that hug the Chattahoochee River along the Georgia/Alabama border, along with three additional counties in Georgia.

Pete Lowry did not go to Mississippi, did not discover long lost bluesmen from the 1920's but in his voluminous research, writing and recording has charted his own path, becoming the most renowned expert on the blues of the Southeast and is credited with coining the term Piedmont Blues. Between 1969 and 1980 he amassed hundreds of photographs, thousands of recordings, music and interviews in his travels through Georgia, South Carolina, North Carolina and Virginia. Lowry set up the Trix Records label in 1972 starting with a series of 45's with LP's being released by 1973. It lasted about a decade as an active label dealing mainly with Piedmont blues artists from the Southeastern states with seventeen albums. Other recordings were issued on the Flyright label. Bastin. Lowry's issued recordings are just the tip of the iceberg with unreleased recordings far exceeding what was commercially released. Among the Georgia artists he recorded were Tommy Lee Russell, Frank Edwards and Roy Dun,  a fine musician and a major source of information and contacts by researchers into the blues of the east coast states.Tommy Brown - Atlanta Boogie

A few other tracks worth mentioning are by artists Eddie Lee Jones, Danny Boy And His Blue Guitar, Buddy Durham  and Cora Mae Bryant. Eddie Lee "Mustright" Jones was recorded by folklorist Bill Koon after encountering Jones playing guitar on a porch in Lexington, GA, in 1965. resulting in the Testament album, Yonder Go That Old Black Dog. Danny Boy And His Blue Guitar cut one 45 in 1958 for the Tifco label which primarily issued country records. Cora Mae Bryant was the daughter of Georgia guitar legend Curley Weaver and cut a pair of albums for Music Maker. Buddy Durham was recorded by Kip Lornell in the early 70's in Albany, New York for the album Goin' Back To Tifton but was originally from Tifton, Georgia.



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